视觉的眩晕:图像时代的绘画艺术  

Visual Vertigo:Painting Art in Picture Era

作　　者：宁夏[1] 

机构地区：[1]三峡大学艺术学院,湖北宜昌443002

出　　处：《三峡大学学报（人文社会科学版）》2007年第5期105-107,共3页Journal of China Three Gorges University(Humanities & Social Sciences)

摘　　要：图像以其传播的娱乐性、广泛性、直接性与毋须思维转换等特性,日益成为这个时代的主要消费方式。20世纪90年代中后期,中国当代架上绘画开始试图走出宏大叙事、政治波普和学院氛围,转而进入日常生活经验的自我表达,艺术家在作品中大量应用各种图像进行创作,导致图像与绘画的界限越来越模糊,绘画因为"图像化",借鉴了照片、影像、电脑后期制作等手段,不断生发而获得了重生。Picture is becoming the main consume way day after day in this era for its dissemination of entertainment, universality, substantively, and no need for transformation in thought. Around the late age of 90th in the 20th century, Chinese painting was trying to get out from the grandiose description, political spectrum and academic atmosphere to self-expression of daily experience. Artist used a lot of pictures in their works, so that made the boundary of pictures and drawing more and more indistinct. Drawing had a renascence because of using photos, images and computer post productions.

关 键 词：视觉转向 图像 波普艺术 格哈特.里希特 绘画 

分 类 号：J2-39[艺术—美术]